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Clje KifaersiDc JLitcrature ^crifS 



GILES COREY OF THE SALEM 
FARMS 



BY 



HENRY WADSWORTH LONGFELLOW 



WITH AN INTRODUCTORY NOTE 



AND AN APPENDIX CONTAINING HINTS AND 

DIRECTIONS FOR THE REPRESENTATION 

or THE PLAY ON THE STAGE 




HOUGHTON, MIFFLIN AND COI^IPANY 

Boston : 4 Park Street ; New York : 11 East Seventeenth Street 
Chicago : 378-388 Wabash Avenue 

($be JHilicrsibc prcsg, Cambridac 



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lw() Copies Recfiv^o 
DEC 29 1900 

Qv Copyright oiUry 

SECOND COPY 

Oelivorocl to 

ORDER OIV;S!ON 

JAN 14 1901 



I V 



Copyright, 1868, and 1872, 

By henry WADSWORTH LONGFELLOW. 

Copyright, 1896, and 1900, 

By ERNEST W. LONGFELLOW. 

Copyright, 1900, 

By HOUGHTON, MIFFLIN & CO. 

All rights reserved. 



The Riverside Press, Cambridge, Mass., U. S. A. 
ElectrotjT)ed and Printed by H. 0. Houghton & Company. 



INTRODUCTORY NOTE. 

As early as 1841 Longfellow projected a long and 
elaborate j)oem, to bear the name of Christus and to 
express in three separate parts the aspects of Christen- 
dom in the Apostolic, Middle, and Modern ages. The 
first part to be written was The Golden Legend^ 
which appeared in 1851, and was hailed with delight 
as a faithful exposition of mediaeval Christianity. It 
was not till 1868 that he published The Neio Eng- 
land Tragedies^ which constituted the third section of 
the trilogy, though practically ready ten years ear- 
lier. The first division, The Divine Tragedy^ ap- 
peared in 1871, and in the autumn of 1872 the three 
divisions, now harmonized and united, were published 
as a single book, Christus. 

The New England Tragedies was designed to set 
forth certain phases of modern Christianity, the first 
of the two tragedies, " John Endicott," standing for 
the conflict between the Puritan and the Quaker, the 
second, '* Giles Corey of the Salem Earms," for the 
witchcraft delusion, and both intended to express the 
supremacy after bitter struggle of the divine spirit 
of charity as the central idea of a true Christian 
freedom. Longfellow did indeed partly plan a third 
drama, the scene to be laid among the Moravians in 
Bethlehem, which his journal mentions as tending " to 
harmonize the discord of The New England Trage- 
dies^ and thus give a not unfitting close to the work ; " 
but the drama was not written. 



IV INTRODUCTORY NOTE. 

The drama of " Giles Corey of the Salem Farms " 
was written rapidly in the latter part of Febrnary, 
1868, and in the preparation of it the poet had re- 
course undoubtedly to Salem Witclicraft^ by Charles 
Wentworth Upham, a work in two volumes, pub- 
lished in 1867, and still the most complete account of 
the insane delusion which held an extraordinary grasp 
on the New England of the last quarter of the seven- 
teenth century. No doubt, also, Longfellow consulted 
Cotton Mather's Late Memorahle Providences relat- 
ing to Witchcrafts and Possessions and very likely 
Calef's More Wonders of the Invisible Worlds two 
contemporaneous treatises on the subject, and his diary 
shows him consulting King James's Dcemonologie^ 
and reading John Neal's Rachel Dyer^ a Tale of 
Witchcraft. He notes also in his diary, under date 
of February 19, 1868, " ' Cotton Mather in his Study,' 
mostly in his own words," as a scene he had just writ- 
ten, but he omitted this scene in printing the drama. 
The reader to-day who wishes for a succinct continu- 
ous narrative of the witchcraft delusion will find it 
most conveniently in the fourth volume of John Gra- 
ham Palfrey's History of Neiv England., pp. 96-133. 

The beginning of the outbreak was pretty nearly 
coterminous with the coming into the governor's chair 
in Massachusetts of Sir William Phips. Belief in 
witchcraft and devilish possession was not a new thing 
either in New England or in Old England. The close 
attention to the details of the Old Testament which 
the Puritans gave could scarcely fail to make witch- 
craft to them a constituent in human nature, and the 
care with which they modelled their code upon the 
Jewish would lead them to j)rovide for the punish- 
ment of witches. At intervals there had been cases 



INTRODUCTORY NOTE. V 

brought to trial. Three women in Charlestown, Dor- 
chester, and Cambridge were executed for witchcraft 
in 1648. One Mary Parsons, who had murdered her 
child, was tried and executed as a witch in Spring- 
field in 1651. 

For some reason not wholly clear, there came to be 
a very lively interest in the matter among the minis- 
ters of New England in 1681, when they sent out a 
paper of " Proposals for collecting facts concerning 
witchcrafts and other strange apparitions." As a 
result. President Increase Mather of Harvard College 
published in London in 1684 a book entitled Illustri- 
ous Promdences. The whole business, however, af- 
fected more strongly Increase Mather's son Cotton, 
regarded as a prodigy of learning, and then recently 
graduated from college. He became so immersed in 
the subject that he took into his house a young girl 
said to be possessed of the devil and studied her case 
at close range. He published his book already re- 
ferred to in London in 1689, and returned to the 
subject at length in his Magnolia. 

The Mathers filled the air with stories and discus- 
sions, and soon there sprang up in diseased minds a 
kind of belief which very easily found and made facts. 
The minister of a church in a part of Salem called 
Salem Village and now known as Danvers was Sam- 
uel Parris. He had a daughter Elizabeth nine years 
old and a niece of eleven. These children, with Ann 
Putnam, a girl of twelve in the neighborhood and a 
few older girls, having their ears filled with tales, 
began in a mischievous spirit to take on the signs 
of being bewitched. They got together and began to 
practise, and it was not long before what was foolish 
nonsense was turned into terrible fact. For with 



vi INTRODUCTORY NOTE. 

something very like real deviltry they fixed upon 
three women as their tormentors. One was Tituba, a 
half Indian, half negro servant of Mr. Parris, who 
had been brought from Barbadoes, and who was quite 
enough of a savage to have the belief of her race in 
the reality of witchcraft, and two neighbors, Sarah 
Good and Sarah Osborn. 

The three were brought before two Salem men, 
John Hathorne and Jonathan Cor win, who were 
members of the Colonial Council. Hathorne, by the 
way, was an ancestor of the great romancer Nathaniel 
Hawthorne, who was keenly aware of the part played 
by the old magistrate. Tituba confessed and charged 
Goodies Good and Osborn with being accomplices. 
All three were committed to jail. Martha Corey and 
Rebecca Nourse were next cried out against. Charges 
came in rapidly, and when Governor Phips arrived 
on the scene there were some one hundred in jail 
awaiting their trial. 

Without due authority. Governor Phips instituted 
a special commission, consisting of seven magistrates, 
headed by William Stoughton. Their first act was 
to try one Bridget Bishop, who was promptly convicted 
and hanged eight days after. This was at the end of 
May, 1692. Four weeks later the court sat again 
and sentenced five women, all of whom were executed. 
In August six persons were tried, among them a brave 
old minister, George Burroughs. In the course of the 
next month fifteen persons were tried, convicted, and 
sentenced ; eight of them were hanged. 

The examinations of Martha Corey and of Giles 
Corey are recorded and preserved in Upham's book, 
and it is interesting to see how close Longfellow has 
kept to the original. One who reads " The Divine 



INTRODUCTORY NOTE. vii 

Tragedy," which is the third member of the trilogy of 
Christus, at once perceives that in parts it is little 
more than an arrangement of passages in the New 
Testament, and in the same way, the poet has made 
use of the old records in producing this scene in 
"Giles Corey." Giles Corey himself was a very 
noticeable man in Salem Village. At the time of the 
outbreak he was about eighty years of age, very 
strong, well-to-do, and industrious. He owned some 
meadows by the Ipswich River, and his farm was 
near what is now the crossing of the Salem and 
Lowell and Georgetown and Boston railroads. In 
the year 1678 there had been a suit at law between 
Corey and a farm hand, John Gloyd, over a question 
of wages. John Procter was one of the arbitrators, 
and the decision appears to have been in favor of 
Gloyd. Later Procter's house was burned, and a 
malicious report"" connected Corey's name with the 
affair, as if he took this way of revenge. Corey was 
brought to trial, but abundantly exonerated. 

All this, however, had its effect when somewhat later 
Giles Corey, like his wife, was charged with complicity 
with the witches. Corey refused to plead. He said 
the whole thing was an imposture, and that it was use- 
less for him to put himself on his trial, since he was 
foredoomed, as was every one else in like predicament. 
Then, because of his refusal, he was subjected to the 
penalty of the English common law, t\\Q peine forte et 
dure, that is, he was pressed to death with heavy 
weights laid on his body. 

These terrible incidents were followed by a wild 
period of insane fear, of false accusation, and of terror 
at the possibility of the slightest occasion being mis- 
interpreted into evidence of guilt in this particular. 



^iii INTRODUCTORY NOTE. 

Finally the horrible delusion broke down of its own 
weight. Charges against pure and saintly women 
created a revulsion of feeling, a wave of indignation 
swept over the community, some of the miserable 
children and others confessed their deception, and 
there was a general jail delivery ; people awoke as 
from a nightmare. Yet Stoughton and some of the 
clergy still persisted in maintaining stoutly the right- 
eousness of their action. 

There was one notable case of remorse in connection 
with the business. So deep was the community 
stirred by the whole matter that the 14th of January, 
1697, was appointed by the General Court to be sol- 
emnly observed as a day of fasting and prayer on 
account of what might have been done amiss " in the 
late tragedy, raised among us by Satan and his instru- 
ments, through the awful judgment of God." On the 
occasion of that fast Samuel Sewall, who had been 
one of the judges, "put up a bill," as the phrase was. 
That is, he caused to be read from the pulpit of the 
Old South where he worshipped this paper. He stood 
during the reading, and bowed when it was finished : — 

"Samuel Sewall, sensible of the reiterated strokes 
of God upon himself and family, and being sensible 
that as to the Guilt contracted upon the opening of 
the late Commission of Oyer and Terminer at Salem 
(to which the order for this Day relates), he is, upon 
many accounts, more concerned than any that he 
knows of. Desires to take the Blame and Shame of 
it, Asking pardon of men. And especially desiring 
prayers that God, who has an Unlimited Authority, 
would pardon that sin and all other his sins ; personal 
and Relative ; And according to his infinite Benignity 
and Sovereignty, Not Visit the sin of him, or of any 



INTRODUCTORY NOTE. ix 

other, upon himself or any of his, nor upon the Land : 
But that He would powerfully defend him against all 
Temptations to Sin, for the future ; and vouchsafe 
him the efficacious, saving Conduct of his Word and 
Spirit." Sewall is said private^ to have observed 
this day of fasting annually thereafter. Whittier has 
drawn a touching picture of the old Puritan in his 
poem, " The Prophecy of Samuel §ewall." 

The witchcraft delusion did not again raise its head 
in New England, but there were trials for witchcraft 
in Scotland as late as 1722, when a poor old woman 
accused of transforming her daughter into a mare to 
carry her to witches' gatherings, and causing her to be 
shod by the Devil, was condemned, put into a tar- 
barrel, and burned at Dornoch. Modern students 
undertake to refer the belief in witchcraft to causes 
which are explained by the science of psychology, and 
the Salem cases have been examined in this light by 
Dr. George M. Beard in his little book, The Psycho- 
logy of the Salem Witchcraft Excitement in 1692. 

So far as the editor knows, " Giles Corey of the 
Salem Farms " had not been put upon the stage be- 
fore it was selected for representation in connection 
with the work of the Old South Historical Society. 
In preparing it for the stage those in charge of the 
matter made no changes in the text, but merely omitted 
a few passages and made one transposition of scenes. 
They added, however, of necessity a few stage direc- 
tions. By their courtesy, the publishers of this edi- 
tion are enabled to furnish others who may desire to 
act " Giles Corey " with explicit instructions drawn 
from the experience of the first representation. Fol- 
lowing the play, therefore, readers will find an appen- 
dix containing this valuable aid. 



GILES COREY OF THE SALEM 
FARMS 

DRAMATIS PERSONS. 

„ r< „ . • Farmer. 

Giles COBET ^ Magistrate. 

JohnHathorne Minister of the Gospel 

Cotton Mathek 

Jonathan Walcot ^'elca^^am. 

RiCHAKD Gardner Corey^f hired man. 

JohnGloyd ;*..*. IFt/eo/G/Zes Corey. 

Martha ^^ Jnt/ian womaw. 

TiTUBA One of the Afflicted. 

Mary Walcot ^-^ 

TAe -Scene is in Salem in the year 1692. 

PROLOGUE. 
Delusions of the days that once have been, 
Witchcraft and wonders of the world unseen, 
Phantoms of air, and necromantic arts 
That crushed the weak and awed the stoutest 

hearts, — 
These are our theme to-night ; and vaguely here, 5 
Through the dim mists that crowd the atmosphere, 
We driiw the outlines of weird figures cast 
In shadow on the background of the Past. 



Who would believe that in the quiet town 
Of Salem, and amid the woods that crown 
The neighboring hillsides, and the sunny farms 
That fold it safe in their paternal arms, — 



10 



2 LONGFELLOW 

Who would believe that in those peaceful streets, 
Where the great elms shut out the summer heats, 
Where quiet reigns, and breathes through brain 
and breast 15 

The benediction of unbroken rest, — 
Who would believe such deeds could find a place 
As these whose tragic history we retrace ? 

'T was but a village then : the goodman ploughed 
His ample acres under sun or cloud ; 20 

The goodwife at her doorstep sat and spun. 
And gossiped with her neighbors in the sun ; 
The only men of dignity and state 
Were then the Minister and the Magistrate, 
Who ruled their little realm with iron rod, 25 

Less in the love than in the fear of God ; 
And who believed devoutly in the Powers 
Of Darkness, working in this world of ours, 
In spells of Witchcraft, incantations dread. 
And shrouded apparitions of the dead. 30 

Upon this simple folk " with fire and flame," 
Saith the old Chronicle, " the Devil came ; 
Scattering his firebrands and his poisonous darts. 
To set on fire of Hell all tongues and hearts ! 
And 't is no wonder ; for, with all his host, 35 

There most he rages where he hateth most. 
And is most hated ; so on us he brings 
All these stupendous and portentous things I '* 

Something of this our scene to-night will show ; 
And ye who listen to the Tale of Woe, 40 

Be not too swift in casting the first stone, 



GILES COREY 3 

Nor think New England bears the guilt alone. 
This sudden burst of wickedness and crime 
Was but the common madness of the time, 
When in all lands, that lie within the sound 45 

Of Sabbath bells, a Witch was burned or drowned^ 

ACT I. 

Scene I. — The woods near Salem Village. Enter Tituba, 
lolth a basket of herbs. 

TITUBA. 

Here 's monk's-hood, that breeds fever in the 

blood ; 
And deadly nightshade, that makes men see 

ghosts ; 
And henbane, that will shake tliem with convul- 
sions ; 
And meadow-saffron and black hellebore, 
That rack the nerves, and puff the skin with 
dropsy ; 5 

And bitter-sweet, and briony, and eye-bright. 
That cause eruptions, nosebleed, rheumatisms ; 
I know them, and the places where they hide 
In field and meadow ; and I know their secrets, 
And gather them because they give me power 10 
Over all men and women. Armed with these, 
I, Tituba, an Indian and a slave. 
Am stronger than the captain with his sword, 
Am richer than the merchant with his money. 
Am wiser than the scholar with his books, is 

Mightier than Ministers and Magistrates, 
With all the fear and reverence that attend them 1 
For I can fill their bones with aches and pains, 



4 LONGFELLOW 

Can make tliein cough with asthma, shake with 
palsy, ^ 19 

Can make their daughters see and talk with ghosts, 
Or fall into delirium and convulsions. 
I have the Evil Eye, the Evil Hand ; 
A touch from me, and they are weak with pain, 
A look from me, and they consume and die. 
The death of cattle and the blight of corn, 25 

The shipwreck, the tornado, and the fire, — 
These are my doings, and they know it not. 
Thus I work vengeance on mine enemies, 
Who, while they call me slave, are slaves to me ! 
Exit TiTUBA. Enter Mather, hooted and spurred, with a 
riding-whip in his hand. 

MATHER. 

Methinks that I have come by paths unknown so 

Into the land and atmosphere of Witches ; 

For, meditating as I journeyed on, 

Lo ! I have lost my way ! If I remember 

Rightly, it is Scribonius the learned 

That tells the story of a man who, praying 35 

For one that was possessed by Evil Spirits, 

W^as struck by Evil Spirits in the face ; 

I, journeying to circumvent the Witches, 

Surely by Witches have been led astray. 

I am persuaded there are few affairs 40 

In which the Devil doth not interfere. 

We cannot undertake a journey even. 

But Satan will be there to meddle with it 

By hindering or by furthering. He hath led me 

Into this thicket, struck me in the face 45 

With branches of the trees, and so entangled 

The fetlocks of my horse with vines and brambles, 



GILES COREY 5 

That I must needs dismount, and search on foot 
For the lost pathway leading to the village. 49 

Reenter Tituba. 
What shape is this ? What monstrous apparition. 
Exceeding fierce, that none may pass that way ? 
Tell me, good woman, if you are a woman — 

TITUBA. 

I am a woman, but I am not good. 
I am a Witch ! 

MATHER. 

Then tell me. Witch and woman, 
For you must know the pathways through this 
wood, 55 

Where lieth Salem Village ? 

TITUBA. 

Reverend sir, 
The village is near by. I 'm going there 
With these few herbs. I '11 lead you. Follow me. 

MATHER. 

First say, who are you ? I am loath to follow 
A stranger in this wilderness, for fear eo 

Of being misled, and left in some morass. 
Who are you ? 

TITUBA. 

I am Tituba the Witch, 
Wife of John Indian. 

MATHER. 

You are Tituba ? 
I know you then. You have renounced the Devil, 
And have become a penitent confessor. es 

The Lord be praised ! Go on, I '11 follow you. 
Wait only till I fetch my horse, that stands 
Tethered among the trees, not far from here. 



6 LONGFELLOW 

TITUBA. 

Let me get up behind you, reverend sir. 69 

MATHER. 

The Lord forbid ! What would the people think, 
If they should see the Reverend Cotton Mather 
Ride into Salem with a Witch behind him ? 
The Lord forbid ! 

TITUBA. 

I do not need a horse ! 
I can ride through the aii- upon a stick, 
Above the tree-tops and above the houses, 75 

And no one see me, no one overtake me ! 

[^Exeunt 



Scene II. — A room at Justice Hathorne's. A clock in 

the corner. Enter Hathorne and Mather. 

hatiiorne. 

You are welcome, reverend sir, thrice welcome 
here 

Beneath my humble roof. 

MATHER. 

I thank your Worship. 

HATHORNE. 

Pray you be seated. You must be fatigued 79 

With your long ride through unfrequented woods. 

They sit down. 

MATHER. 

You know the purport of my visit here, — 
To be advised by you, and counsel with you, 
And with the Reverend Clergy of the village, 
Touching these witchcrafts that so much afflict 

you; 
And see with mine own eyes the wonders told 85 



GILES COREY 7 

Of spectres and the shadows of the dead, 
That come back from their graves to speak with 
men. 

HATHORNE. 

Some men there are, I have known such, who 

think 
That the two workls — the seen and the unseen, 
The world of matter and the world of spirit — 9o 
Are like the hemispheres upon our maps, 
And touch each other only at a point. 
But these two worlds are not divided thus. 
Save for the purposes of common speech. 
They form one globe, in which the parted seas 95 
All flow together and are intermingled, 
"While the great continents remain distinct. 

MATHER. 

I doubt it not. The spiritual world 

Lies all about us, and its avenues 

Are open to the unseen feet of phantoms 100 

That come and go, and we perceive them not, 

Save by their influence, or when at times 

A most mysterious Providence permits them 

To manifest themselves to mortal eyes. 

HATHORNE. 

You, who are always welcome here among us, 105 
Are doubly welcome now. We need your wisdom, 
Your learning in these things, to be our guide. 
The Devil hath come down in wrath upon us. 
And ravages the land with all his hosts. 109 

MATHER. 

The Unclean Spirit said, " My name is Legion ! " 
Multitudes in the Valley of Destruction ! 
But when our fervent, well-directed prayers, 



8 LONGFELLOW 

Which are the great artillery of Heaven, 

Ar§, brought into the field, I see them scattered 

And driven like Autumn leaves before the wind* 

HATHORNE. 

You, as a Minister of God, can meet them ne 

With spiritual v^^eapons ; but, alas ! 
I, as a Magistrate, must combat them 
With weapons from the armory of the flesh. 

MATHER. 

These wonders of the world invisible, — 120 

These spectral shapes that haunt our habita- 
tions, — 
The multiplied and manifold afflictions 
With which the aged and the dying saints 
Have their death prefaced and their age imbit- 

tered, — 
Are but prophetic trumpets that proclaim 125 

The Second Coming of our Lord on earth 
The evening wolves will be much more abroad, 
When we are near the evening of the world. 

HATHORNE. 

When you shall see, as I have hourly seen, 129 

The sorceries and the witchcrafts that torment us, 
See children tortured by invisible spirits, 
And wasted and consumed by powers unseen, 
You will confess the half has not been told you. 

MATHER. 

It must be so. The death-pangs of the Devil 
Will make him more a Devil than before ; 135 

And Nebuchadnezzar's furnace will be heated 
Seven times more hot before its putting out. 

HATHORNE. 

Advise me, reverend sir. I look to you 



GILES COREY ^ 

For counsel and for guidance in this matter. 
What further shall we do ? 

MATHEK. 

Remember this, mo 
That as a sparrow falls not to the ground 
Without the will of God, so not a Devil 
Can come down from the air without his leavGc 
We must inquire. 

HATHORNE. 

Dear sir, we have inquired ; 
Sifted the matter thoroughly through and througli, 
And then resifted it. 

MATHER. 

If God permits m 

These Evil Spirits from the unseen regions 
To visit us with surprising informations. 
We must inquire what cause there is for this, 
But not receive the testimony borne iso 

By spectres as conclusive proof of guilt 
In the accused. 

HATHORNE. 

Upon such evidence 
We do not rest our case. The ways are many 
In which the guilty do betray themselves. 

MATHER. 

Be careful. Carry the knife with such exact- 
ness, 1^^ 
That on one side no innocent blood be shed 
By too excessive zeal, and, on the other 
No shelter given to any work of darkness. 

HATHORNE. 

For one, I do not fear excess of zeal. 159 

What do we gain by parleying with the Devil ? 



10 LONGFELLOW 

You reason, but you hesitate to act ! 

Ah, reverend sir ! believe me, in such cases 

The only safety is in acting promptly. 

'T is not the part of wisdom to delay 

In thing's where not to do is still to do i65 

A deed more fatal than the deed we shrink from* 

You are a man of books and meditation, 

But I am one who acts. 

MATHER. 

God give us wisdom 
In the directing of this thorny business, i69 

And guide us, lest New England should become 
Of an unsavory and sulphurous odor 
In the opinion of the world abroad ! 

The clock strikes. 
I never hear the striking of a clock 
Without a warning and an admonition i74 

That time is on the wing, and we must quicken 
Our tardy pace in journeying Heavenward, 
As Israel did in journeying Canaan-ward ! 
TTiey rise. 

HATHORNE. 

Then let us make all haste ; and I will show you 
In what disguises and what fearful shapes 
The Unclean Spirits haunt this neighborhood, iso 
And you will pardon my excess of zeal. 

MATHER. 

Ah, poor New England ! He who hurricanoed 
The house of Job is making now on thee 
One last assault, more deadly and more snarled 
With unintelligible circumstances iss 

Than any thou hast hitherto encountered I 

\ExeunL 



GILES COREY 11 

Scene III. — A room in Walcot's house. Mary Walcot 
seated in an arm-chair. Tituba with a mirror. 

MARY. 

Tell me another story, Tituba. 

A drowsiness is stealing over me 

"W hicli is not sleep ; for, though I close mine eyes, 

I am awake, and in another world. i90 

Dim faces of the dead and of the absent 

Come floating up before me, — floating, fading. 

And disappearing. 

TITUBA. 

Look into this glass. 
What see you ? 

MARY. 

Nothing but a golden vapor. 
Yes, something more. An island, with the sea 195 
Breaking all round it, like a blooming hedge. 
What land is this ? 

TITUBA. 

It is San Salvador, 
Where Tituba was born. What see you now ? 

MARY. 

A man all black and fierce. 

TITUBA. 

That is my father 
He was an Obi man, and taught me magic, — 200 
Taught me the use of herbs and images. 
What is he doing ? 

MARY. 

Holding in his hand 
A waxen figure. He is melting it 
Slowly before a fire. 

TITUBA. 

And now what see you ? 



12 LONGFELLOW 

MARY. 

A woman lying on a bed of leaves, 205 

Wasted and worn away. Ah, she is dying! 

TITUBA. 

That is the way the Obi men destroy 
The people they dislike ! That is the way 
Some one is wasting and consuming you. 

MARY. 

You terrify me, Tituba ! Oh, save me 210 

From those who make me pine and waste away ! 
Who are they ? Tell me. 

TITUBA. 

That I do not know, 
But you will see them. They will come to you. 

MARY. 

No, do not let them come ! I cannot bear it ! 

I am too weak to bear it ! I am dying. 215 

Falls into a trance. 

TITUBA. 

Hark ! there is some one coming ! 

Enter Hathorne, Mather, and Walcot. 

WALCOT. 

There she lies, 
Wasted and worn by devilish incantations ! 
O my poor sister ! 

MATHER. 

Is she always thus ? 

WALCOT. 

Nay, she is sometimes tortured by convulsions. 

MATHER. 

Poor child ! How thin she is ! How wan and 
wasted ! 220 

HATHORNE. 

Observe her. She is troubled in her sleep. 



GILES COREY 13 

MATHER. 

Some fearful vision haunts her. 

HATHORNE. 

You now see 
With your own eyes, and touch with your own 

hands, 
The mysteries of this Witchcraft. 

MATHER. 

One would need 
The hands of Briareus and the eyes of Argus 225 
To see and touch them all. 

HATHORNE. 

You now have entered 
The realm of ghosts and phantoms, — the vast 

realm 
Of the unknown and the invisible. 
Through whose wide-open gates there blows a 

wind 
From the dark valley of the shadow of Death, 230 
That freezes us with horror. 

MARY (starting). 

Take her hence ! 
Take her away from me. I see her there ! 
She 's coming to torment me I 

WALCOT (taking her hand). 

O my sister ! 
What frightens you ? She neither hears nor sees 

me. 
She 's in a trance. 

MARY. 

Do you not see her there ? 235 

TITUBA. 

My child, who is it ? 



14 LONGFELLOW 



I cannot see her face. 



MARY. 

All, I do not know. 



TITUBA. 

How is she clad ? 



MARY. 

She wears a crimson bodice. In her hand 

She holds an image, and is pinching it 

Between her fingers. Ah, she tortures me ! 240 

I see her face now. It is Goodwife Bishop ! 

Why does she torture me ? I never harmed her ! 

And now she strikes me with an iron rod ! 

Oh, I am beaten ! 

MATHER. 

This is wonderful ! 
I can see nothing ! Is this apparition 245 

Visibly there, and yet we cannot see it? 

HATHORNE. 

It is. The spectre is invisible 

Unto our grosser senses, but she sees it. 

MARY. 

Look ! look ! there is another clad in gray ! 
She holds a spindle in her hand, and threatens 250 
To stab me with it ! It is Goodwife Corey ! 
Keep her away ! Now she is coming at me ! 
O mercy ! mercy ! 

WALCOT (thrusting with his sword). 

There is nothing there ! 

MATHER (to HATHORNE). 

Do you see anything ? 

HATHORNE. 

The laws that govern 
The spiritual world prevent our seeing 2.55 



GILES COREY 15 

Things palpable and visible to her. 

These spectres are to us as if they were not. 

Mark her ; she wakes. 

TiTUBA touches her, and she awakes. 

MARY. 

Who are these gentlemen ? 

WALCOT. 

They are our friends. Dear Mary, are you better? 

MARY. 

Weak, very weak. 

Taking a spindle from her lap, and holding it up. 

How came this spindle here ? 260 

TITUBA. 

You wrenched it from the hand of Goodwif e Corey 
When she rushed at you. 

HATHORNE, 

Mark that, reverend sir ! 

MATHER. 

It is most marvellous, most inexplicable ! 

TITUBA {picking up a hit of gray cloth from the floor). 
And here, too, is a bit of her gray dress, 
That the sword cut away. 

MATHER. 

Beholding this, 265 

It were indeed by far more credulous 
To be incredulous than to believe. 
None but a Sadducee, who doubts of all 
Pertaining to the spiritual world, 269 

Could doubt such manifest and damning proofs ! 

HATHORNE. 

Are you convinced ? 

MATHER {to MARY). 

Dear child, be comforted ! 



16 LONGFELLOW 

Only by prayer and fasting can you drive 
These Unclean Spirits from you. An old man 
Gives you his blessing. God be with you, Mary I 



ACT II. 

Scene I. — Giles Corey's /arm. Morning. Enter Corey, 
loitli a horseshoe and a hammer. 

COREY. 

The Lord hath prospered me. The rising sun 
Shines on my Hundred Acres and my woods 
As if he loved them. On a morn like this 
I can forgive mine enemies, and thank God 
For all his goodness unto me and mine. s 

My orchard groans with russets and pear-mains ; 
My ripening corn shines golden in the sun ; 
My barns are crammed with hay, my cattle thrive ; 
The birds sing blithely on the trees around me ! 
And blither than the birds my heart within me. lo 
But Satan still goes up and down the earth ; 
And to protect this house from his assaidts. 
And keep the powers of darkness from my door, 
This horseshoe will I nail upon the threshold. 

Nails down the horseshoe. 
There, ye night-hags and witches that torment is 
The neighborhood, ye shall not enter here ! — 
What is the matter in the field ? — John Gloyd ! 
The cattle are all running to the woods ! — 
John Gloyd ! Where is the man ? 
Enter John Gloyd. 

Look there I 
What ails the cattle ? Are they all bewitched ? 20 
They run like mad. 



GILES COREY 17 

GLOYD. 

They liave been overlooked. 

COREY. 

The Evil Eye is on them sure enough. 
Call all the men. Be quick. Go after them I 
Exit Gloyd and enter Martha. 

MARTHA. 

What is amiss ? 

COREY. 

The cattle are bewitched. 24 
They are broken loose and making for the woods. 

MARTHA. 

Why will you harbor such delusions, Giles ? 
Bewitched? Well, then it was John Gloyd be- 
witched them ; 
I saw him even now take down the bars 
And turn them loose ! They 're only frolicsome. 

COREY. 

The rascal ! 

MARTHA. 

I was standing in the road, 30 

Talking with Good wife Proctor, and I saw him. 

COREY. 

With Proctor's wife? And what says Goodwife 
Proctor ? 

MARTHA. 

Sad things indeed ; the saddest you can hear 

Of Bridget Bishop. She 's cried out upon ! 34 

COREY. 

Poor soul ! I 've known her forty year or more. 

She was the widow Wasselby ; and then 

She married Oliver, and Bishop next. 

She 's had three husbands. I remember well 



18 LONGFELLOW 

My games of shovel-board at Bishop's tavern 
In the old merry days, and she so gay 4o 

With her red paragon bodice and her ribbons ! 
Ah, Bridget Bishop always was a Witch ! 

MARTHA. 

They '11 little help her now, — her caps and ribbons, 
And her red paragon bodice, and her plumes, 
With which she flaunted in the Meeting-house ! 45 
When next she goes there, it will be for trial. 

COREY. 

When will that be ? 

MARTHA. 

This very day at ten. 

COREY. 

Then get you ready. We will go and see it. 
Come ; you shall ride behind me on the pillion. 

MARTHA. 

Not I. You know I do not like such things. so 
I wonder you should. I do not believe 
In Witches nor in Witchcraft. 

COREY, 

Well, I do. 

There 's a strange fascination in it all, 
That draws me on and on, I know not why. 

MARTHA. 

What do we know of spirits good or ill, ss 

Or of their power to help us or to harm us ? 

COREY. 

Surely what 's in the Bible must be true. 

Did not an Evil Spirit come on Saul ? 

Did not the Witch of Endor bring the ghost 59 

Of Samuel from his grave ? The Bible says so. 

MARTHA. 

That happened very long ago. 



GILES COREY 19 

COREY. 

With God 
There is no long ago. 

MARTHA. 

There is with us. 

COREY. 

And Mary Magdalene had seven devils, 
And he who dwelt among the tombs a legion ! 

MARTHA. 

God's power is infinite. I do not doubt it. 65 

If in His providence He once permitted 

Such things to be among the Israelites, 

It does not follow He permits them now, 

And among us who are not Israelites. 

But we will not dispute about it, Giles. 70 

Go to the village, if you think it best, 

And leave me here ; I 'U go about my work. 

[Exit into the house. 

COREY. 

And I will go and saddle the gray mare. 
The last word always. That is woman's nature. 
If an old man will marry a young wife, 75 

He must make up his mind to many things. 
It 's putting new cloth into an old garment. 
When the strain comes, it is the old gives way. 
Goes to the door. 

Martha ! I forgot to tell you something. 

1 've had a letter from a friend of mine, so 
A certain Richard Gardner of Nantucket, 
Master and owner of a whaling- vessel ; 

He writes that he is coming down to see us. 
I hope you '11 like him. 

MARTHA. 

I will do my best 



20 LONGFELLOW 

COREY. 

That 's a good woman. Now I will be gone. 85 
I 've not seen Gardner for this twenty year ; 
But there is something of the sea about him, — 
Something so open, generous, large, and strong, 
It makes me love him better than a brother, 89 

lExiL 
Martha comes to the door. 

MARTHA. 

Oh these old friends and cronies of my husband. 
These captains from Nantucket and the Cape, 
That come and turn my house into a tavern 
With their carousing ! Still, there 's something 

frank 
In these seafaring men that makes me like them. 
Why, here 's a horseshoe nailed upon the door- 
step ! 95 
Giles has done this to keep away the Witches. 
I hope this Richard Gardner will bring with him 
A gale of good sound common-sense, to blow 
The fog of these delusions from his brain ! 99 

COREY (within). 
Ho! Martha! Martha! 

Enter Corey. 

Have you seen my saddle ? 

MARTHA. 

I saw it yesterday. 

COREY. 

Where did you see it ? 

MARTHA, 

On a gray mare, that somebody was riding 
Along the village road. 

COREY. 

Who was it? Tell me. 



GILES COREY 21 

MARTHA. 

Some one who should have stayed at home. 
COREY (restraining himself). 

I see ! 
Don't vex me, Martha. Tell me where it is. 105 

MARTHA. 

I 've hidden it away. 

COREY. 

Go fetch it me. 

MARTHA. 

Go find it. 

COREY. 

No. I '11 ride down to the village 
Bare-back ; and when the people stare and say, 
'' Giles Corey, where 's your saddle ? " 1 will 

answer, 
" A Witch has stolen it." How shaU you hke 

that? 

MARTHA. 

I shall not like it. 

COREY. 

Then go fetch the saddle. 

[Exit Martha. 

If an old man will marry a young wife. 
Why then - why then - why then - he must 
spell Baker ! 
iJn^er Martha with the saddle, which she throws down. 

MARTHA. 

There ! There 's the saddle. 

COREY. 

Take it up. 

MARTHA. 

I won't I 



22 LONGFELLOW 

COREY. 

Then let it lie there. I '11 ride to the village, iis 
And say you are a Witch. 

MARTHA. 

No, not that, Giles. 

She takes up the saddle. 

COREY. 

Now come with me, and saddle the gray mare 
With your own hands ; and you shall see me ride 
Along the village road as is becoming iw 

Giles Corey of the Salem Farms, your husband ! 

[^Exeunt 

Scene II. — The Green in front of the Meeting-house in Salem 
Village. People coming and going. Enter Giles Corey. 

COREY. 

A melancholy end ! Who would have thought 
That Bridget Bishop e'er would come to this ? 
Accused, convicted, and condemned to death 
For Witchcraft ! And so good a woman too ! 

A FARMER. 

Good morrow, neighbor Corey. 

COREY {not hearing him). 

Who is safe ? 125 
How do I know but under my own roof 
I too may harbor Witches, and some Devil 
Be plotting and contriving against me ? 

farmer. 
He does not hear. Good morrow, neighbor Corey ! 

COREY. 

Good morrow. 

FARMER. 

Have you seen John Proctor lately? 



GILES COREY 23 

COREY. 

No, I have not. 

FARMER. 

Then do not see him, Corejo i3i 

COREY. 

Why should I not ? 

FARMER. 

Because he 's angry with yoUo 
So keep out of his way. Avoid a quarrel. 

COREY. 

Why does he seek to fix a quarrel on me ? m 

FARMER. 

He says you burned his house. 

COREY. 

I burn his house ? 
If he says that, John Proctor is a liar ! 
The night his house was burned I was in bed, 
And I can prove it I Why, we are old friends I 
He could not say that of me. 

FARMER. 

He did say it. 
I heard him say it. 

COREY. 

Then he shall unsay it. i4o 

FARMER. 

He said you did it out of spite to him 
For taking part against you in the quarrel 
You had with your John Gloyd about his wages. 
He says you murdered Goodell; that you tram- 
pled 
Upon his body till he breathed no more. 145 

And so beware of him ; that 's my advice I 

\ExiU 



24 LONGFELLOW 

COREY. 

By Heaven ! this is too much ! I '11 seek him 

out, 
And make him eat his words, or strangle him. 
I '11 not be slandered at a time like this, 
When every word is made an accusation, 150 

When every whisper kills, and every man 
Walks with a halter round his neck ! 
Enter Gloyd in haste. 

What now? 

GLOYD. 

I came to look for you. The cattle — 

COREY. 

Well, 
What of them ? Have you found them ? 

GLOYD. 

They are dead. 
I followed them through the woods, across the 
meadows ; 155 

Then they all leaped into the Ipswich River, 
And swam across, but could not climb the bank, 
And so were drowned. 

COREY. 

You are to blame for this ; 
For you took down the bars, and let them loose. 

GLOYD. 

That I deny. They broke the fences down. leo 
You know they were bewitched. 

COREY. 

Ah, my poor cattle I 
The Evil Eye was on them ; that is true. 
Day of disaster ! Most unlucky day ! 
Why did I leave my ploughing and my reaping 



GILES COREY 25 

To plough and reap this Sodom and Gomorrah ? i65 
Oh, I could drown myself for sheer vexation ! 

lExit. 

GLOYD. 

He 's going for his cattle. He won't find them. 
By this time they have drifted out to sea. 
They will not break his fences any more, i69 

Though they may break his heart. And what 
care I? [.Exit. 

Scene III — Corey's kitchen. A table with supper. Martha 
knitting. 

MARTHA. 

He 's come at last. I hear him in the passage. 
Something has gone amiss with him to-day ; 
I know it by his step, and by the sound 
The door made as he shut it. He is angry. 
Enter Corey loith his riding-whip. As he speaks he takes off 
his hat and gloves, and throws them down violently. 

COREY. 

I say if Satan ever entered man 175 

He 's in John Proctor ! 

MARTHA. 

Giles, what is the matter ? 
You frighten me. 

COREY. 

I say if any man 
Can have a Devil in him, then that man 
Is Proctor, — is John Proctor, and no other I 

MARTHA. 

Why, what has he b§en doing ? 

COREY. 

Everything ! iso 
What do you think I heard there in the village ? 



26 ^ LONGFELLOW 

MARTHA. 

I 'm sure I cannot guess. What did you hear ? 

COREY. 

He says I burned his house ! 

MARTHA. 

Does he say that ? 

COREY. 

He says I burned his house. I was in bed 

And fast asleep that night ; and I can prove it. i85 

MARTHA. 

If he says that, I think the Father of Lies 
Is surely in the man. 

COREY. 

He does say that, 
And that I did it to wreak vengeance on him 
For taking sides against me in the quarrel 
I had with that John Gloyd about his wages. i9o 
And God knows that I never bore him malice 
For that, as I have told him twenty times ! 

MARTHA. 

It is John Gloyd has stirred him up to this. 
I do not like that Gloyd. I think him crafty, 
Not to be trusted, sullen, and untruthful. 195 

Come, have your supper. You are tired and hun- 
gry- 

COREY. 

I 'm angry, and not hungry. 

MARTHA. 

Do eat something. 
You 11 be the better for it. 

COREY (sitting down). 

I 'm not hungry. 

MARTHA. 

Let not the sun go down upon your wratk 



GILES COREY 27 

COREY. 

It has gone down upon it, and will rise 200 

To-morrow, and go down again upon it. 
They have trumped up against me the old story 
Of causing GoodelFs death by trampling on him. 

MARTHA. 

Oh, that is false. I know it to be false. 

COREY. 

He has been dead these fourteen years or more. 205 
Why can't they let him rest? Why must they 

drag him 
Out of his grave to give me a bad name ? 
I did not kill him. In his bed he died, 
As most men die, because his hour had come. 209 
I have wronged no man. Why should Proctor say 
Such things about me ? I will not forgive him 
Till he confesses he has slandered me. 
Then, I 've more trouble. All my cattle gone. 

MARTHA. 

They will come back again. 

COREY. 

Not in this world. 
Did I not tell you they were overlooked ? 215 

They ran down through the woods, into the mead- 
ows, 
And tried to swim the river, and were drowned. 
It is a heavy loss. 

MARTHA. 

I 'm sorry for it. 

COREY. 

All my dear oxen dead. I loved them, Martha, 
Kext to yourself. I liked to look at them, 220 

And watch the breath come out of their wide nos- 
trils, 



28 LONGFELLOW 

And see their patient eyes. Somehow I thought 

It gave me strength only to look at them. 

And how they strained their necks against the 
yoke 

If I but spoke, or touched them with the goad ! 225 

They were my friends ; and when Gloyd came and 
told me 

They were all drowned, I could have drowned my- 
self 

From sheer vexation ; and I said as much 

To Gloyd and others. 

MARTHA. 

Do not trust John Gloyd 
With anything you would not have repeated. 230 

COREY. 

As I came through the woods this afternoon, 

Impatient at my loss, and much perplexed 

With all that I had heard there in the village, 

The yellow leaves lit up the trees about me 

Like an enchanted palace, and I wished 235 

I knew enough of magic or of Witchcraft 

To change them into gold. Then suddenly 

A tree shook down some crimson leaves upon me, 

Like drops of blood, and in the path before me 

Stood Tituba the Indian, the old crone. 240 

MARTHA. 

Were you not frightened ? 

COREY. 

No, I do not think 
I know the meaning of that word. Why fright- 
ened ? 
I am not one of those who think the Lord 
Is waiting till He catches them some day 



GILES COREY 29 

In the back yard alone ! What should I fear ? 245 
She started from the bushes by the path, 
And had a basket full of herbs and roots 
For some witch-broth or other, — the old hag ! 

MARTHA. 

She has been here to-day. 

COREY. 

With hand outstretched 
She said : " Giles Corey, will you sign the Book ? " 
" Avaunt ! " I cried : " Get thee behind me, 
Satan ! " 251 

At which she laughed and left me. But a voice 
Was whispering in my ear continually : 
" Self-murder is no crime. The life of man 
Is his, to keep it or to throw away ! " 255 

MARTHA. 

'T was a temptation of the Evil One ! 
Giles, Giles ! why will you harbor these dark 
thoughts ? 

COREY (rising). 
I am too tired to talk. I '11 go to bed. 

MARTHA. 

First tell me something about Bridget Bishop. 
How did she look? You saw her? You were 
there ? 260 

COREY. 

I '11 tell you that to-morrow, not to-night. 
I '11 go to bed. 

MARTHA. 

First let us pray togethero 

COREY. 

I cannot pray to-night. 



30 LONGFELLOW 

MARTHA. 

Say the Lord's Prayer, 
And that will comfort you. 

COREY. 

I cannot say, 264 
" As we forgive those that have sinned against us,'* 
When I do not forgive them. 

MARTHA (kneeling on the hearth). 

God forgive you ! 

COREY. 

I will not make believe ! I say, to-night 

There 's something thwarts me when I wish to pray, 

And thrusts into my mind, instead of prayers, 269 

Hate and revenge, and things that are not prayers. 

Something of my old self, — my old, bad life, — 

And the old Adam in me, rises up, 

And will not let me pray. I am afraid 

The Devil hinders me. You know I say 

Just what I think, and nothing more nor less, 275 

And, when I pray, my heart is in my prayer. 

I cannot say one thing and mean another. 

If I can't pray, I will not make believe ! 

\_Exit Corey. Martha continues kneeling. 

ACT III. 

Scene 1. — Giles Corey's kitchen. Morning. Corey and 
Martha sitting at the breakfast-table. 
COREY (rising). 
W^ll, now I 've told you all I saw and heard 
Of Bridget Bishop ; and I must be gone. 

MARTHA. 

Don't go into the village, Giles, to-day. 

Last night you came back tired and out of humor. 



GILES COREY ^^ 

COREY. 

Say, angry ; say, right angry. I was never 
In a more devilish temper in my life. 
All things went wrong with me. 

MARTHA. 

You were much vexed \ 

So don't go to the village. 

COREY {going). 

No, I won't. 
I won't go near it. We are going to mow 
The Ipswich meadows for the aftermath, 
The crop of sedge and rowens. 

MARTHA, 

Stay a moment. 
I want to tell you what I dreamed last night. lo 
Do you believe in dreams ? 

COREY. 

Why, yes and no. 
When they come true, then I believe in them ; 
When they come false, I don't believe m them. 
But let me hear. What did you dream about ? 

MARTHA. 

I dreamed that you and I were both in prison i i5 
That we had fetters on our hands and feet ; 
That we were taken before the Magistrates, 
And tried for Witchcraft, and condemned to 

death ! 
I wished to pray ; they would not let me pray i 
You tried to comfort me, and they forbade it. 20 

But the most dreadful thing in all my dream 

Was that they made you testify against me ! 

And then there came a kind of mist between us ; 

I could not see you ; and I woke in terror. 



32 LONGFELLOW 

I never was more thankful in my life 25 

Than when I found you sleeping at my side ! 

COREY (^with tenderness.). 
It was our talk last night that made you dream, 
I 'm sorry for it. I '11 control myself 
Another time, and keep my temper down ! 29 

I do not like such dreams. — Remember, Martha^ 
I 'm going to mow the Ipswich River meadows ; 
If Gardner comes, you '11 tell him where to lind 
me. \_Exit. 

MARTHA. 

So this delusion grows from bad to worse. 
First, a forsaken and forlorn old woman. 
Ragged and wretched, and without a friend ; 35 
Then something higher. Now it 's Bridget Bishop ; 
God only knows whose turn it will be next ! 
The Magistrates are blind, the people mad ! 
If they would only seize the Afflicted Children, 
And put them in the Workhouse, where they 
should be, 40 

There 'd be an end of all this wickedness. 

lExit 

Scene II. — A street in Salem Village. Enter Mather andi 
Hathorne. 

MATHER. 

Yet one thing troubles me. 

HATHORNE. 

And what is that? 

MATHER. 

May not the Devil take the outward shape 

Of innocent persons ? Are we not in danger, 44 

Perhaps, of punishing some who are not guilty? 



GILES COREY 33 

HATHORNE. 

As I have said, we do not trust alone 
To spectral evidence. 

MATHER. 

And then again, 
If any shall be put to death for Witchcraft, 
We do but kill the body, not the soul. 
The Unclean Spirits that possessed them once 50 
Live still, to enter into other bodies. 
What have we gained ? Surely, there 's nothing 
gained. 

HATHORNE. 

Doth not the Scripture say, " Thou shalt not 

suffer 
A Witch to live ? " 

MATHER. 

The Scripture sayeth it, 54 
But speaketh to the Jews ; and we are Christians. 
What say the laws of England ? 

HATHORNE. 

They make Witchcraft 
Felony without the benefit of Clergy. 
Witches are burned in England. You have 

read — 
For you read all things, not a book escapes you — - 
The famous Demonology of King James ? m 

MATHER. 

A curious volume. I remember also 
The plot of the Two Hundred, with one Fian, 
The Registrar of the Devil, at their head, 
To drown his Majesty on his return 
From Denmark; how they sailed in sieves or 
riddles es 



34 LONGFELLOW 

Unto North Berwick Kirk in Lothian, 

And, landing there, danced hand in hand, and 

sang, 
" Goodwif e, go ye before ! goodwif e, go ye ! 
If ye '11 not go before, goodwife, let me ! " 69 

While Geilis Duncan played the Witches' Reel 
Upon a jews-harp. 

HATHOENE. 

Then you know full well 
The English law, and that in England Witches, 
When lawfully convicted and attainted. 
Are put to death. 

MATHER. 

When lawfully convicted ; 
That is the point. 

HATHORNE, 

You heard the evidence 75 

Produced before us yesterday at the trial 
Of Bridget Bishop. 

MATHER. 

One of the Afflicted, 
I know, bore witness to the apparition 
Of ghosts unto the spectre of this Bishop, 79 

Saying, " You murdered us ! " of the truth whereof 
There was in matter of fact too much suspi- 
cion. 

HATHORNE. 

And when she cast her eyes on the Afflicted, 
They were struck down ; and this in such a 

manner 
There could be no collusion in the business. 
And when the accused but laid her hand upon 

them, 85 



GILES COREY 35 

As they lay in their swoons, they straight revived, 
Although they stirred not when the others touched 
them. 

MATHER. 

What most convinced me of the woman's guilt 
Was finding hidden in her cellar wall 
Those poppets made of rags, with headless pins 90 
Stuck into them point outwards, and whereof 
She could not give a reasonable account. 

HATHORNE. 

When you shall read the testimony given 
Before the Court in all the other cases, 
I am persuaded you will find the proof 95 

No less conclusive than it was in this. 
Come, then, with me, and I will tax your patience 
With reading of the documents so far 
As may convince you that these sorcerers 
Are lawfully convicted and attainted. 100 

Like doubting Thomas, you shall lay your hand 
Upon these wounds, and you will doubt no more. 

[Exeunt. 

Scene III. — A room in Corey's house. Martha and two 
T)eacons of the church. 

MARTHA. 

Be seated. I am glad to see you here. 

I know what you are come for. You are come 

To question me, and learn from my own lips 105 

If I have any dealings with the Devil ; 

In short, if I 'm a Witch. 

DEACON (sitting doivn). 

Such is our purpose. 
How could you know beforehand why we came ? 



36 LONGFELLOW 

IV. 

*T was only a surmise. 



MARTHA. 



DEACON. 

We came to ask you9 
You being with us in church covenant, no 

What part you have, if any, in these matters. 

MARTHA. 

And I make answer. No part whatsoever. 
I am a farmer's wife, a working woman ; 
You see my spinning-wheel, you see my loom, 
You know the duties of a farmer's wife, iis 

And are not ignorant that my life among you 
Has been without reproach until this day. 
Is it not true ? 

DEACON. 

So much we 're bound to own ; 
And say it frankly, and without reserve. 

MARTHA. 

I 've heard the idle tales that are abroad ; 120 

I 've heard it whispered that I am a Witch ; 
I cannot help it. I do not believe 
In any Witchcraft. It is a delusion. 

DEACON. 

How can you say that it is a delusion, 

When all our learned and good men believe 

it?— 125 

Our Ministers and worshipful Magistrates ? 

MARTHA. 

Their eyes are blinded, and see not the truth. 
Perhaps one day they will be open to it. 

DEACON. 

You answer boldly. The Afflicted Children 129 
Say you appeared to them. 



GILES COREY 37 

And did they say 



MARTHA. 



What clothes I came in ? 

DEACON. 

No, they could not teEo 
They said that you foresaw our visit here, 
And blinded them, so that they could not see 
The clothes you wore. 

MARTHA. 

The cunning, crafty girls ! 
I say to you, in all sincerity, 135 

I never have appeared to any one 
In my own person. If the Devil takes 
My shape to hurt these children, or afflict them, 
I am not guilty of it. And I say 
It 's all a mere delusion of the senses. i4o 

DEACON. 

I greatly fear that you will find too late 
It is not so. 

MARTHA (rising). 
They do accuse me falsely. 
It is delusion, or it is deceit. 

There is a story in the ancient Scriptures 144 

Which much I wonder comes not to your minds. 
Let me repeat it to you. 

DEACON. 

We will hear it. 

MARTHA. 

It came to pass that Naboth had a vineyard 
Hard by the palace of the King called Ahab. 
And Ahab, King of Israel, spake to Naboth, 
And said to him. Give unto me thy vineyard, m 
That I may have it for a garden of herbs. 



38 LONGFELLOW 

And I will give a better vineyard for it, 

Or, if it seemeth good to thee, its worth 

In money. And then Naboth said to Ahab, 

The Lord forbid it me that I should give 155 

The inheritance of my fathers unto thee. 

And Ahab came into his house displeased 

And heavy at the words which Naboth spake, 

And laid him down upon his bed, and turned 

His face away ; and he would eat no bread. 160 

And Jezebel, the wife of Ahab, came 

And said to him, Why is thy spirit sad ? 

And he said unto her, Because I spake 

To Naboth, to the Jezreelite, and said, i64 

Give me thy vineyard ; and he answered, saying, 

I will not give my vineyard unto thee. 

And Jezebel, the wife of Ahab, said. 

Dost thou not rule the realm of Israel ? 

Arise, eat bread, and let thy heart be merry ; 

I will give Naboth' s vineyard unto thee. no 

So she wrote letters in King Ahab's name, 

And sealed them with his seal, and sent the 

letters 
Unto the elders that were in his city 
Dwelling with Naboth, and unto the nobles ; 
And in the letters wrote. Proclaim a fast ; 175 

And set this Naboth high among the people, 
And set two men, the sons of Belial, 
Before him, to bear witness and to say. 
Thou didst blaspheme against God and the King? 
And carry him out and stone him, that he die I iso 
And the elders and the nobles of the city 
Did even as Jezebel, the wife of Ahab, 
Had sent to them and written in the letters. 



GILES COREY 39 

And then it came to pass, when Ahab heard 
Naboth was dead, that Ahab rose to go i85 

Down unto Naboth's vineyard, and to take 
Possession of it. And the word of God 
Came to Elijah, saying to him, Arise, 
Go down to meet the King of Israel 
In Naboth's vineyard, whither he hath gone wo 

To take possession. Thou shalt speak to him, 
Saying, Thus saith the Lord ! What ! hast thou 

killed 
And also taken possession ? In the place 
Wherein the dogs have licked the blood of Naboth 
Shall the dogs lick thy blood, — ay, even thine ! 

Both of the Deacons start from their seats. 
And Ahab then, the King of Israel, i36 

Said, Hast thou found me, O mine enemy ? 
Elijah the Prophet answered, I have found thee ! 
So will it be with those who have stirred up 
The Sons of Belial here to bear false witness 200 
And swear away the lives of innocent people ; 
Their enemy will find them out at last. 
The Prophet's voice will thunder, I have found 

thee ! [Exeunt. 

Scene IV. — Meadows on Ipswich River. Corey and his 
men mowing ;, Corey in advance. 

COREY. 

Well done, my men. You see, I lead the field I 
I 'm an old man, but I can swing a scythe 205 

Better than most of you, though you be youngePo 
Hangs his scythe upon a tree. 
GLOYD (aside to the others'). 
How strong he is ! It 's supernatural. 



40 LONGFELLOW 

No man so old as lie is has such strength. 
The Devil helps him ! 

COREY (wiping his forehead) . 

Now we '11 rest awhile, 
And take our nooning. What 's the matter with 

you ? 210 

You are not angry with me, — are you, Gloyd ? 
Come, come, we will not quarrel. Let 's be 

friends. 
It 's an old story, that the Eaven said, 
"Kead the Third of Colossians and fifteenth." 214 

GLOYD. 

You 're handier at the scythe, but I can beat you 
At wrestling. 

COREY. 

Well, perhaps so. I don't know. 
I never wrestled with you. Why, you 're vexed ! 
Come, come, don't bear a grudge. 

GLOYD. 

You are afraid. 

COREY. 

What should I be afraid of? All bear witness 
The challenge comes from him. Now, then, my 
man. 220 

They wrestle, and Gloyd is thrown. 

ONE OF THE MEN. 

That 's a fair fall. 

ANOTHER. 

'T was nothing but a foil 1 

OTHERS. 

You Ve hurt him ! 

COREY (helping gloyd rise). 

No ; this meadow-land is soft 
You 're not hurt, — are you, Gloyd ? 



GILES COREY 41 

GLOYD (rising). 

No, not much hurt. 

COREY. 

Wei], then, shake hands ; and there 's an end of it. 
How do you like that Cornish hug, my lad ? 225 
And now we '11 see what 's in our basket here. 

GLOYD (aside). 
The Devil and all his imps are in that man ! 
The ckitch of his ten fingers burns like fire ! 

COREY (reverentially taking off his hat). 
God bless the food He hath provided for us, 229 
And make us thankful for it, for Christ's sake ! 
He lifts up a keg of cider, and drinks from it. 

GLOYD. 

Do you see that ? Don't tell me it 's not Witch- 
craft. 
Two of us could not lift that cask as he does ! 
Corey j9Mte down the keg, and opens a basket. A voice is heard 
calling. 

VOICE. 

Ho ! Corey, Corey I 

COREY. 

What is that ? I surely 
Heard some one calling me by name ! 

VOICE. 

Giles Corey ! 

Enter a hoy, running, and out of breath. 

BOY. 

Is Master Corey here ? 

COREY. 

Yes, here I am. 235 

BOY. 

O Master Corey I 



42 LONGFELLOW 



COREY. \ 

Well? \ 

BOY. 

Your wife — your wife — • 

COREY. 

What *s happened to my wife ? 

BOY. 

She 's sent to prison ! 

COREY. 

The dream ! the dream ! O God, be merciful ! 

BOY. 

She sent me here to tell you. 

COREY {puttmg on Ms jacket). 

Where 's my horse ? 

Don't stand there staring, fellows. Where 's my 

liorse? \_Exit Corey. 

GLOYD. 

Under the trees there. Eun, old man, run, run ! 
You 've got some one to wrestle with you now 
Who '11 trip your heels up, with your Cornish hug. 
If there 's a Devil, he has got you now. 
Ah, there he goes ! His horse is snorting fire I 245 

one of the men. 
John Gloyd, don't talk so I It 's a shame to talk 

so ! 
He 's a good master, though you quarrel with him. 

GLOYD. 

If hard work and low wages make good masters. 
Then he is one. But I think otherwise. 
Come, let us have our dinner and be merry, 250 

And talk about the old man and the Witches. 
I know some stories that will make you laugh. 
They sit down on the grass, and eat. 



GILES COREY 43 

Now there are Goody Cloyse and Goody Good, 
Who have not got a decent tooth between them, 254 
And yet these children — the Afflicted Children — 
Say that they bite them, and show marks of teeth 
Upon their arms ! 

ONE OF THE MEN. 

That makes the wonder greater^ 
That 's Witchcraft. Why, if they had teeth like 

yours, 
'T would be no wonder if the girls were bitten ! 259 

GLOYD. 

And then those ghosts that come out of their graves 
And cry, " You murdered us ! you murdered us ! " 

ONE OF THE MEN, 

And all those Apparitions that stick pins 
Into the flesh of the Afflicted Children ! 

GLOYD. 

Oh those Afflicted Children ! They know well 
Where the pins come from. I can tell you that. 265 
And there 's old Corey, he has got a horseshoe 
Nailed on his doorstep to keep off the Witches, 
And all the same his wife has gone to prison. 

ONE OF THE MEN. 

Oh, she 's no Witch. I '11 swear that Goodwife 

Corey 
Never did harm to any living creature. 270 

She 's a good woman, if there ever was one. 

GLOYD. 

Well, we shall see. As for that Bridget Bishop, 

She has been tried before ; some years ago 

A negro testified he saw her shape 

Sitting upon the rafters in a barn, 275 

And holding in its hand an egg ', and while 



44 LONGFELLOW 

He went to fetch his pitchfork, she had vanished. 
And now be quiet, will you? I am tired, 
And want to sleep here on the grass a little. 

They stretch themselves on the grass. 

ONE OF THE MEN. 

There may be Witches riding through the air 280 
Over our heads on broomsticks at this moment. 
Bound for some Satan's Sabbath in the woods 
To be baptized. 

GLOYD. 

I wish they 'd take you with them, 
And hold you under water, head and ears, 
Till you were drowned ; and that would stop your 
talking, 285 

If nothing else will. Let me sleep, I say. 



ACT IV. 

Scene I. — The Green in front of the village Meeting-house, 
An excited crowd gathering. Enter John Gloyd. 

A FARMER. 

Who will be tried to-day ? 

A SECOND. 

I do not know. 
Here is John Gloyd. Ask him ; he knows. 

FARMER. 

John Gloyd, 
Whose turn is it to-day ? 

GLOYD. 

It 's Good wife Corey '& 

FARMER. 

Giles Corey's wife ? 



GILES COREY 45 

GLOYD. 

The same. She is not mine. 
It will go hard with her with all her praying, 5 
The hypocrite ! She 's always on her knees ; 
But she prays to the Devil when she praySo 
Let us go in. 

A trumpet blows. 

FARMER. 

Here come the Magistrates. 

SECOND FARMER. 

Who 's the tall man in front? 

GLOYD. 

Oh, that is Hathorne, 
A Justice of the Court, and Quartermaster lo 

In the Three County Troop. He '11 sift the mat- 
ter. 
That 's Corwin with him ; and the man in black 
Is Cotton Mather, Minister of Boston. 

Enter Hathorne and other Magistrates on horseback, followed 
by the Sheriff, constables, and attendants on foot. The Mag- 
istrates dismount, and enter the Meeting-house, with the rest. 

FARMER. 

The Meeting-house is full. I never saw 
So great a crowd before. 

GLOYD. 

No matter. Come. i5 
We shall find room enough by elbowing 
Our way among them. Put your shoulder to it. 

FARMER. 

There were not half so many at the trial 
Of Goodwife Bishop. 

GLOYD. 

Keep close after me. ^ 

I '11 find a place for you. They '11 want me there. 



46 LONGFELLOW 

I am a friend of Corey's, as you know, 
And he can't do without me just at present. 

[Exeunt 

Scene II. — Interior of the Meeting-house. Mather and 
the Magistrates seated in front of the pulpit. Before them a 
raised platform. Martha in chains. Corey near her. 
Mary Walcot in a chair. A crowd of spectators, among 
them Gloyd. Confusion and murmurs during the scene. 



Call Martha Corey. 



HATHORNE. 



MARTHA. 

I am here. 



HATHORNE. 

Come forward. 
She ascends the platform. 
The Jurors of our Sovereign Lord and Lady 24 
The King and Queen, here present, do accuse you 
Of having on the tenth of June last past, 
And divers other times before and after. 
Wickedly used and practised certain arts 
Called Witchcrafts, Sorceries, and Incantations, 
Against one Mary Walcot, single woman, 30 

Of Salem Village ; by which wicked arts 
The aforesaid Mary Walcot was tormented. 
Tortured, afflicted, pined, consumed, and wasted, 
Against the peace of our Sovereign Lord and 

Lady 
The King and Queen, as well as of the Statute 35 
Made and provided in that case. What say you *? 

MARTHA. 

Before I answer, give me leave to pray. 

HATHORNE. 

We have not sent for you, nor are we here, 



GILES COREY 47 

To hear you pray, but to examine you 

In whatsoever is alleged against you. 4o 

Why do you hurt this person ? 

MARTHA. 

I do not. 
I am not guilty o£ the charge against me. 

MARY. 

Avoid, she-devil ! You torment me now ! 
Avoid, avoid. Witch ! 

MARTHA. 

I am innocent. 
I never had to do with any Witchcraft 45 

Since I was born. I am a gospel woman. 

MARY. 

You are a gospel Witch ! 

MARTHA (clasping lier hands). 

Ah me ! ah me I 
Oh, give me leave to pray ! 

MARY {stretching out her hands). 

She hurts me now. 
See, she has pinched my hands ! 

HATHORNE. 

Who made these marks 
Upon lier hands ? 

MARTHA. 

I do not know. I stand 50 
Apart from her. I did not touch her hands. 

HATHORNE. 

Who hurt her then ? 

MARTHA. 

I know not. 

HATHORNE. 

Bo you think 
She is bewitched ? 



48 LONGFELLOW 

MARTHA. 

Indeed I do not think so. 
I am no Witcli, and have no faith in Witches. 

HATHORNE. 

Then answer me : When certain persons came 
To see you yesterday, how did you know 56 

Beforehand why they came ? 

MARTHA. 

I had had speech 
The children said I hurt them, and I thought 
These people came to question me about it. 

HATHORNE. 

How did you know the children had been told eo 
To note the clothes you wore ? 

MARTHA. 

My husband told me 
What others said about it. 

HATHORNE. 

Goodman Corey, 
Say, did you tell her ? 

COREY. 

I must speak the truth ; 
I did not tell her. It was some one else. 

HATHORNE. > 

Did you not say your husband told you so ? 65 

How dare you tell a lie in this assembly ? 

Who told you of the clothes ? Confess the truth. 

Martha hites her lips, and is silent. 
You bite your lips, but do not answer me ! 

MARY. 

Ah, she is biting me ! Avoid, avoid ! 69 

HATKORNE. 

You said your husband told youo 



GILES COREY 49 

MARTHA. 

Yes, he told me 
The children said I troubled them. 

HATHORNE. 

Then tell me, 
Why do you trouble them ? 

MARTHA. 

I have denied it. 

MARY. 

She threatened me ; stabbed at me with her 

' spindle ; 
And, when my brother thrust her with his sword, 
He tore her gown, and cut a piece away. 75 

Here are they both, the spindle and the cloth. 
Shows them. 

HATHORNE. 

And there are pei^ons here who know the truth 
Of what has now been said. What answer make 
you? 

MARTHA. 

I make no answer. Give me leave to pray. 79 

HATHORNE. 

Whom would you pray to ? 

MARTHA. 

To my God and Father. 

HATHORNE. 

Who is your God and Father ? 

MARTHA. 

The Almighty ! 

HATHORNE. 

Doth he you pray to say that he is God ? 
It is the Prince of Darkness, and not God. 



50 LONGFELLOW 

MARY. 

There is a dark shape whispering in her ear. 

HATHORNE. 

What does it say to ycu ? 

MARTHA. 

I see no shape. ss 

HATHORNE. 

Did you not hear it whisper ? 

MARTHA. 

I heard nothing. 

MARY. 

What torture ! Ah, what agony I suffer ! 

Falls into a swoon. 

HATHORNE. 

You see this woman cannot stand before you. 
If you would look for mercy, you must look 
In God's way, by confession of your guilt. 9o 

Why does your spectre haunt and hurt this person ? 

MARTHA. 

I do not know. He who appeared of old 

In Samuel's shape, a saint and glorified, 

May come in whatsoever shape he chooses. 

I cannot help it. I am sick at heart ! 95 

COREY. 

Martha, Martha I let me hold your hand. 

HATHORNE. 

No ; stand aside, old man. 

MARY (starting up). 

Look there ! Look there! 

1 see a little bird, a yellow bird. 
Perched on her finger ; and it pecks at me. 
Ah, it wiU tear mine eyes out ! 

MARTHA. 

I see nothing. 100 



GILES COREY 51 

HATHORNE, 

T is the Familiar Spirit that attends her. 

MARY. 

Now it has flown away. It sits up there 
Upon the rafters. It is gone ; is vanished. 

MARTHA. 

Giles, wi23e these tears of anger from mine eyes. 
Wipe the sweat from my forehead, I am faint. 
She leans against the railing. 

MARY. 

Oh, she is crushing me with all her weight I io6 

HATHORNE. 

Did you not carry once the Devil's Book 
To this young woman ? 

MARTHA. 

Never. 

HATHORNE. 

Have you signed it, 
Or touched it ? 

MARTHA. 

No ; I never saw it. 

HATHORNE. 

Did you not scourge her with an iron rod ? no 

MARTHA. 

No, I did not. If any Evil Spirit 

Has taken my shape to do these evil deeds, 

I cannot help it. I am innocent. 

HATHORNE. 

Did you not say the Magistrates were blind ? 
That you would open their eyes ? 

MARTHA (with a scornful laugh). 

Yes, I said thatf 
If you caU me a sorceress, you are blind! ue 



52 LONGFELLOW 

If you accuse the innocent you are blind ! 
Can the innocent be guilty ? 

HATHORNE. 

Did you not 
On one occasion hide your husband's saddle 
To hinder him from coming to the Sessions ? 120 

MARTHA. 

I thought it was a folly in a farmer 

To waste his time pursuing such illusions. 

HATHORNE. 

What was the bird that this young woman saw 
Just now upon your hand ? 

MARTHA. 

I know no bird. 

HATHORNE. 

Have you not dealt with a Familiar Spirit ? 125 

MARTHA. 

No, never, never ! 

HATHORNE. 

What then was the Book 
You showed to this young woman, and besought 

her 
To write in it ? 

MARTHA. 

Where should I have a book ? 
I showed her none, nor have none. 

MARY. 

The next Sabbath 
Is the Communion Day, but Martha Corey iso 
Will not be there ! 

MARTHA. 

Ah, you are all against me. 
What can I do or say ? 



GILES COREY 58 

HATHORNE. 

You can confess. 

MARTHA. 

No, I cannot, for I am innocent. 

HATHORNE. 

We have the proof of many witnesses 
That you are guilty. 

MARTHA. 

Give me leave to speak. 135 
Will you condemn me on such evidence, — 
You who have known me for so many years ? 
Will you condemn me in this house of God, 
Where I so long have worshipped with you all ? 
Where I have eaten the bread and drunk the 
wine 140 

So many times at our Lord's Table with you ? 
Bear witness, you that hear me ; you all know 
That I have led a blameless life among you, 
That never any whisper of suspicion 
Was breathed against me till this accusation. 145 
And shall this count for nothing ? Will you take 
My life away from me, because this girl. 
Who is distraught, and not in her right mind, 
Accuses me of things I blush to name ? 149 

HATHORNE. 

What ! is it not enough ? Would you hear more ? 
Giles Corey ! 

COREY. 

I am here. 

HATHORNE. 

Come forward, then- 
Corey ascends the platform. 
Is it not true, that on a certain night 



54 LONGFELLOW 

Yeu were impeded strangely in your prayers ? 
That something hindered you ? and that you left 
This woman here, your wife, kneeling alone 15.3 

Upon the hearth ? 

COREY. 

Yes ; I cannot deny it. 

HATHORNE. 

Did you not say the Devil hindered you ? 

COREY. 

I think I said some words to that effect. 

HATHORNE. 

Is it not true, that fourteen head of cattle, 

To you belonging, broke from their enclosure leo 

And leaped into the river, and were drowned ? 

COREY. 

It is most true. 

HATHORNE. 

And did you not then say 
That they were overlooked ? 

COREY. 

So much I said. 
I see ; they 're drawing round me closer, closer, 
A net I cannot break, cannot escaj)e from 1 {Aside^ 

HATHORNE. 

Who did these things ? 

COREY. 

I do not know who did them. 

* HATHORNE. 

Then I will tell you. It is some one near you ; 
You see her now ; this woman, your own wife. 

COREY. 

I call the heavens to witness, it is false 1 

She never harmed me, never hindered me 170 



GILES COREY 55 

In anything but what I should not do. 
And I bear witness in the sight of heaven, 
And in God's house here, that I never knew her 
As otherwise than patient, brave, and true, 
Faithful, forgiving, full of charity, 175 

A virtuous and industrious and good wife ! 

HATHORNE. 

Tut, tut, man ; do not rant so in your speech ; 

You are a witness, not an advocate ! 

Here, Sheriff, take this woman back to prison. 

MARTHA. 

Giles, this day you 've sworn away my life! iso 

MARY. 

Go, go and join the Witches at the door. 

Do you not hear the drum ? Do you not see 

them ? 
Go quick. They 're waiting for you. You are 

late. 

[Exit Martha ; Corey follotoing. 

COREY. 

The dream I the dream ! the dream ! 

HATHORNE. 

What does he say ? 
Giles Corey, go not hence. You are yourself iss 
Accused of Witchcraft and of Sorcery 
By many witnesses. Say, are you guilty ? 

COREY. 

1 know my death is foreordained by you, — 
Mine and my wife's. Therefore I will not an- 
swer. 

During the rest of the scene he remains silent, 

HATHORNE. 

Do you refuse to plead ? — 'T were better for you 190 



56 LONGFELLOW 

To make confession, or to plead Not Guilty. — 
Do you not hear me ? — Answer, are you guilty ? 
Do you not know a heavier doom awaits you, 
If you refuse to plead, than if found guilty ? 
Where is John Gloyd ? 

GLOYD {coming forward). 
Here am I. 

HATHORNE. 

Tell the Courts 
Have you not seen the supernatural power we 

Of this old man ? Have you not seen him do 
Strange feats of strength ? 

\ GLOYD. 

I Ve seen him lead the field, 
On a hot day, in mowing, and against 199 

Us younger men ; and I have wrestled with him. 
He threw me like a feather. I have seen him 
Lift up a barrel with his single hands, 
Which two strong men could hardly lift together, 
And, holding it above his head, drink from it. 

HATHORNE. 

That is enough ; we need not question further. 205 
What answer do you make to this, Giles Corey ? 

MARY. 

See there ! See there ! 

HATHORNE, 

What is it ? I see nothing. 

MARY. 

Look ! Look ! It is the ghost of Robert Goodell, 
Whom fifteen years ago this man did murder 
By stamping on his body ! In his shroud 210 

He comes here to bear witness to the crime ! 

The crowd shrinks back from Corey in horror. 



GILES COREY 57 

HATHORNE. 

Ghosts of the dead and voices of the living 
Bear witness to your guilt, and you must die ! 
It might have been an easier death. Your doom 
Will be on your own head, and not on ours. 215 
Twice more will you be questioned of these things 5 
Twice more have room to plead or to confess. 
If you are contumacious to the Court, 
And if, when questioned, you refuse to answer, 
Then by the Statute you will be condemned 220 
To the 2jeine forte et dure! To have your 

body 
Pressed by great weights until you shall be 

dead ! 
And may the Lord have mercy on your soul ! 

ACT V. 

Scene I. — Corey's /am as in Act II., Scene I. Enter 
Richard Gardner, looking round him. 

GARDNER. 

Here stands the house as I remember it. 
The four tall poplar-trees before the door ; 
The house, the barn, the orchard, and the well, 
With its moss-covered bucket and its trough ; 
The garden, with its hedge of currant-bushes ; 
The woods, the harvest-fields ; and, far beyond, 
The pleasant landscape stretching to the sea. 
But everything is silent and deserted ! 
No bleat of flocks, no bellowing of herds. 
No sound of flails, that should be beating now ; 10 
Nor man nor beast astir. What can this mean? 
Knocks at the door. 



58 LONGFELLOW 

What ho! Giles Corey! Hillo-ho! Giles Corey! — 

No answer but the echo from the barn, 

And the ill-omened cawing of the crow, 

That yonder wings his flight across the fields, is 

As if he scented carrion in the air. 

Enter Tituba with a basket. 
What woman 's this, that, like an apparition, 
Haunts this deserted homestead in broad day ? 
Woman, who are you ? 

TITUBA. 

I am Tituba. 
I am John Indian's wife. I am a Witch. 20 

GARDNER. 

What are you doing here ? , 

TITUBA. 

I 'm gathering herbs, — 
Cinquefoil, and saxifrage, and pennyroyal. 

GARDNER (looking at the herbs). 
This is not cinquefoil, it is deadly night-shade ! 
This is not saxifrage, but hellebore ! 
This is not pennyroyal, it is henbane ! 25 

Do you come here to poison these good people ? 

TITUBA. 

I get these for the Doctor in the Village. 
Beware of Tituba. I pinch the children ; 
Make little poppets and stick pins in them, 
And then the children cry out they are pricked. 30 
The Black Dog came to me, and said, " Serve 

me!" 
I was afraid. He made me hurt the children, 

GARDNER. 

Poor soul! She's crazed, with all these Devil's 
doings. 



GILES COREY 59 

TITUBA. 

Will you, sir, sign the Book ? 

GARDNER. 

No, I '11 not sign it. 34 
Where is Giles Corey? Do you know Giles Corey ? 

TITUBA. 

He 's safe enough. He 's down there in the prison. 

GARDNER. 

Corey in prison ? What is he accused of ? 

TITUBA. 

Giles Corey and Martha Corey are in prison 
Down there in Salem Village. Both are Witches. 
She came to me and whispered, " Kill the chil- 
dren ! " 40 

Both signed the Book ! 

GARDNER. 

Begone, you imp of darkness ! 
You Devil's dam ! 

TITUBA. 

Beware of Tituba ! 

\_Exit. 

GARDNER. 

How often out at sea on stormy nights, 

W^hen the waves thundered round me, and the 

wind 
Bellowed, and beat the canvas, and my ship 45 

Clove through the solid darkness, like a wedge, 
I 've thought of him, upon his pleasant farm, 
Living in quiet with his thrifty housewife, 
And envied him, and wished his fate were mine I 
And now I find him shipwrecked utterly, 50 

Drifting upon this sea of sorceries. 
And lost, perhaps, beyond all aid of man ! 

\Exit. 



60 LONGFELLOW 

Scene II. — The prison. Giles Corey a/ a table on which 
are some papers. 

COREY. 

Now I have done witli earth and all its cares ; 
I give my worldly goods to my dear children ; 
My body I bequeath to my tormentors. 55 

And my immortal soul to Him who made it. 

God ! who in thy wisdom dost afflict me 
With an affliction greater than most men 
Have ever yet endured or shall endure, 

Suffer me not in this last bitter hour eo 

For any pains of death to fall from thee ! 

MARTHA is heard singing. 
Arise, O righteous Lord ! 

And disappoint my foes ; 
They are but thine avenging sword, 

Whose wounds are swift to close. 65 

COREY. 

Hark, hark ! it is her voice ! She is not dead ! 
She lives ! I am not utterly forsaken ! 
MARTHA, singing. 
By thine abounding grace. 
And mercies multiplied, 
I shall awake, and see thy face ; to 

I shall be satisfied. 

Corey hides his face in his hands. Enter the jailer, followed 
by Richard Gardner. 

.JAILER. 

Here 's a seafaring man, one Richard Gardner, 
A friend of yours, who asks to speak with you. 

Corey rises. They embrace. 

COREY. 

1 'm glad to see you, ay, right glad to see you. 



GILES COREY 61 

GARDNER. 

And I most sorely grieved to see you thus. 75 

COREY. 

Of all the friends I had in happier days, 
You are the first, ay, and the only one. 
That comes to seek me out in my disgrace ! 
And you but come in time to say farewell. 
They 've dug my grave already in the field. so 

I thank you. There is something in your pres- 
ence, 
I know not what it is, that gives me strength. 
Perhaps it is the bearing of a man 
Familiar with all dangers of the deep. 
Familiar with the cries of drowning men, ss 

With fire, and wreck, and foundering ships at sea ! 

GARDNER. 

Ah, I have never known a wreck like yours ! 
Would I could save you ! 

COREY. 

Do not speak of that. 
It is too late. I am resolved to die. 

GARDNER. 

Why would you die who have so much to live 
for ? — 90 

Your daughters, and — 

COREY. 

You cannot say the word. 

My daughters have gone from me. They are mar- 
ried ; 

They have their homes, their thoughts, apart from 
me ; 

I will not say their hearts, — that were too cruel. 

What would you have me do ? 



62 LONGFELLOW 

GARDNER. 

Confess and live. 

COREY. 

That's what they said who came here yester- 
day 96 
To lay a heavy weight upon my conscience 
By telling me that I was driven forth 
As an unworthy member of their church. 

GARDNER. 

It is an awful death. 

COREY. 

'T is but to drown, loo 

And have the weight of all the seas upon you. 

GARDNER. 

Say something ; say enough to fend off death 
Till this tornado of fanaticism 
Blows itself out. Let me come in between you 
And your severer self, with my plain sense ; 105 
Do not be obstinate. 

COREY. 

I will not plead. 
If I deny, I am condemned already, 
In courts where ghosts appear as witnesses, 
And swear men's lives away. If I confess, 
Then I confess a lie, to buy a life no 

Which is not life, but only death in life. 
I will not bear false witness against any, 
Not even against myself, whom I count least. 

GARDNER (ttside). 

Ah, what a noble character is this ! 

COREY. 

I pray you, do not urge me to do that us 

You would not do yourself. I have already 



GILES COREY 63 

The bitter taste of death upon my lips ; 
I feel the pressure of the heavy weight 
That will crush out my life within this hour ; 
But if a word could save me, and that word 120 
Were not the Truth ; nay, if it did but swerve 
A hair's-breadth from the Truth, I would not say 
it! 

GARDNER {aside). 
How mean I seem beside a man like this ! 

COREY. 

As for my wife, my Martha and my Martyr, — 

Whose virtues, like the stars, unseen by day, 125 

Though numberless, do but await the dark 

To manifest themselves unto all eyes, — 

She who first won me from my evil ways, 

And taught me how to live by her example, 

By her example teaches me to die, 130 

And leads me onward to the better life ! 

SHERIFF (without). 

Giles Corey ! Come ! The hour has struck ! 

COREY. 

I come ! 
Here Is my body ; ye may torture it. 
But the immortal soul ye cannot crush ! 134 

\_Exeunto 

Scene III. — A street in the Village. Enter Gloyd and 
others. 

GLOYD. 

Quick, or we shall be late ! 

A MAN. 

That^s not the way. 
Come here ; come up this lane. 



64 LONGFELLOW 

GLOYD. 

I wonder now 
If the old man will die, and will not speak ? 
He 's obstinate enough and tough enough 
For anything on earth. 

A hell tolls. 

Hark ! What is that ? 139 

A MAN. 

The passing bell. He 's dead ! 

GLOYD. 

We are too late. 

[Exeunt m haste. 

Scene IV. — Afield near the graveyard. Giles Corey lying 
dead, with a great stone on his breast. The Sheriff at his 
head, Richard Gardner at his feet. A crowd behind. The 
bell tolling. Enter Hathorne and Mather. 

HATHORNE. 

This is the Potter's Field. Behold the fate 
Of those who deal in Witchcrafts, and, when ques- 
tioned, 
Refuse to plead their guilt or innocence. 
And stubbornly drag death upon themselves. 

MATHER. 

O sight most horrible ! In a land like this, 145 
Spangled with Churches Evangelical, 
Inwrapped in our salvations, must we seek 
In mouldering statute-books of English Courts 
Some old forgotten Law, to do such deeds ? 
Those who lie buried in the Potter's Field iso 

Will rise again, as surely as ourselves 
That sleep in honored graves with epitaphs ; 
And this poor man, whom we have made a victim, 
Hereafter will be counted as a martyr ! 



APPENDIX. 

HINTS TOWARD THE STAGE REPRESENTATION 
OF GILES COREY OF THE SALEM FARMS. 



TRANSPOSITIONS AND OMISSIONS. 

Act III, transpose Scenes 2 and 3. 

Act IV, Scene 2, in the last speech omit 7 lines, beginning 
" Twice more," etc. 

Act V, Scene 2, omit Gardner's speech, " It is an awful death," 
and Corey's next speech. Omit also in Corey's next speech but 
one the two lines, " I feel the pressure," etc. 

Either omit Scenes 3 and 4 of Act V or have the sheriff enter 
at the end of Scene 2, with Hathorne, Mather, and Attendants, 
in which case Hathorne and Mather are to look out of the win- 
dow and say the lines of Scene 4, with the omission of the first 
five words. 

II. 

STAGE DIRECTIONS. 

Add to Dramatis Personce, — 

Jonathan Corwin, Two Deacons, Sheriff, Constables, Jailer, 
Farmers, Hired Men, and Villagers. 

In dramatic performance, the part of the Farmer in Act II, 
Sc. 2, may be given to one of the Deacons, the parts of the 
Farmers in Act IV, Sc. 1, may be given to two of the hired men, 
and the part of the Jailer may be given to the Sheriff or one of 
the Constables. Other parts may be doubled where the number 
of actors is small. 

[The following directions are in addition to those supplied by 
the author. To make the matter clear, the page numbers and 



6Q APPENDIX. 

sometimes the line numbers are given ; a reference will 
readily show what has been added to the original.] 

ACT 1. 

Scene I. — The woods near Salem Village. Enter Tituba (r.), 
with a basket of herbs and a staff. 

Tituba, taking up the herbs one by one. 
Page 4, between lines 27 and 28. 

Shaking her staff exultantly. 
Page 4. Exit Tituba (l.). Enter Mather (r.), booted and 

spurred, with a riding-whip in his hand. 
Page 5. Reenter Tituba (l.). 
Page 5, after line 58. Starts to go off (l.). 
Page 6. At end of first half line 73, exit (r.). 
Page 6. At end of line 76, instead of exeunt, exit (l.). 
Page 6. At end of stage direction for Scene II (r.). 

Page 11. Scene III. — A room in Walcot's house. Door in 
ffat. Mary Walcot seated in an armchair (l.). 
Tituba standing in front of her with a mirror. 

Page 12, lines 216-218. 
Enter Hathorne, Mather, ajid Walcot by door in flat. 

Walcot. 

There she lies, 
Wasted and worn by devilish incantations ! 
O my poor sister ! 

Mather, advancing toward her. 

Is she always thus ? 
Page 13, line 234. 

What frightens you ? {turning to the others.') She neither hears 

nor sees me. 
She 's in a trance. 

Mary {pointing in front of her). 

Do you not see her there ? 

Page 14, between lines 239, 240. 

writhing as if in pain. 
Page 14, line 244. Mather {turning to Hathorne). 

LofC. 



APPENDIX. 67 

Page 14, at close of first half of line 253. 

{covers her face ivith her hands).. 
Page 16, at close of Act I. 
As he utters these last words he places his left hand on her head and 
raises his right as in benediclion. Hathorne and Walcot 
stand reverently, raising their hats. Tituba, in the rear, 
shakes herfst in malicious triumph. Tableau. 
{Curtain.) 

ACT II. 

Scene I. — Giles Corey's farm. House and ham (l.). Well 
tvith curb and sweep rear. Garden surrounded by currant- 
bushes (r.). Morning. Enter Qo'R.^Y (j..), from barn with 
a horseshoe and a hammer. 

Page 17, after line 23. 

Exit Gloyd and enter Martha (l.) from the house. 
Page 19, after line 72. 

\_Exit into the house (l.). 
Page 19, after first half of line 84. 

Martha {from within). 
Page 20, at close of line 89. 

[^Exit (l.) into barn. 
Martha comes to the door (l.). 
Page 20, after first half of line 100. 

Eiiter Corey /rom barn (l.). 
Page 21, at close of line 111. 

[Exit Martha into house (l.). 
Page 22, at close of Scene I. 

[Exeunt into barn (l,). 
Scene II. — The Green in front of the Meeting-house in Salem 
Village. Meetitig-house (r). People coming and going. 
Enter Giles Corey {R.)from Meeting-house. 

Corey. 

A melancholy end ! Who would have thought 
That Bridget Bishop e'er would come to this ? 
Accused, convicted, and condemned to death 
For Witchcraft ! And so good a woman too ! 

A Farmer, entering (l.). 

Page 23, last line. 

[Exit (l.). 



68 APPENDIX. 

Page 24, top of page. 

Corey, shaking hisjist. 
Page 24, after first half of line 152. 

Enter Gloyd in haste (l.). 
Page 25. After line 166. 

[Exit (l.). 
Page 25, after line 170. 

[Exit (L.). 

Scene III. — Corey's kitchen. Door and window in flat. 

Fireplace with crane and kettle (r.). Door (l.). A table 

with supper (l.). Martha knitting (r.). 
As the curtain rises, a loud stamp and slam of the door are heard 

in the rear of the stage. 

Martha, pausing in her knitting. 

He 's come at last. I bear him in the passage. 

Something has gone amiss with him to-day ; 

I know it by bis step, and by the sound 

The door made as he shut it. He is angry. 

She puts up her knitting and takes food from the flre and puts it on 

the table. 
Enter Corey at door in flat with his riding-whip. Ashe speaks he 
takes off his hat and gloves, and. throws them down vio- 
lently. 
Page 26, at close of line 196. 

(Sits at (r.) of table.) 
Page 26, after first half of line 198. 

Corey (sitting down (l.) of table). 
Page 28, after line 230. 
Having finished supper they push back their chairs from the table. 
Page 29, after first half of line 262. 

Martha (rising). 
Page 30, after line 266. 

(soft music). 
Corey. 
During this speech Gloyd appears at the back and looks in through 
the toindow. 
Page 30, after line 278. 

[Exit Corey (l.). Martha continues kneeling. 
(Slow Curtain.) 



APPENDIX. 69 

ACT III. 

SceneL — Giles Corey's itite^im, as &e/bre. Morning. Corey 
and Martha sitting at the breakfast-table. 

Page 30, after line 2. 

Martha (rising). 
Page 31, after first half of line 9. 

Martha (sitting down). 

Page 32, after line 32. 

\_Exit, door in fiat. 

Page 32. Scene II. 

Scene II. -^ street in Salem Village. Enter Mather and 

Hathorne (r.) in conversation. 

Page 35, after line 102. 

^ [Exeunt (l.). 

SceneIII. — ^ room m Corey's ;iowse. Door in flat. Martha 

engaged in housework. 
A knock is heard, Martha opens the door, and two deacons of the 
church enter. 
Page 36, after line 123. 

Second Deacon. 
Page 37, after line 140. 

Second Deacon. 
Page 39, after line 203. ^^^^^^^ 

Scene lY. — Meadoios on Ipsivich River. A tree in centre. 
Under it lunch-basket and cider-barrel. Corey and his 
men enter (l.) mowing ; Corey in advance. 

Page 41, after line 226. 

bringing it into the midst of them. 
Page 41, after line 233. 
Corey joMfs doim the keg, and opens a basket. A voice is heard 
calling (r.). 
Page 41, after line 234. 

E7iter a boy (r.) running and out of breath. 
Page 42, after line 240. 

[Exit Corey (h.), followed by boy. 
Page 44, at close of Act III. 

(Curtain.) 



70 APPENDIX. 

Page 44, at beginning of Act IV. 
Scene I. — The Green in front of the Village Meeting-house, as 
in Act II, Scene 2. An excited crowd gathering. Enter 
John Gloyd (l.). 
Page 45, after first half of line 8. 

A trumjjet blows, off (l.). 
Page 45, after line 13. 
Enter Hathokne, Mather, and Corwin, accompanied hij the 
sheriff, constables, and attendants. They cross the stage, 
and enter the Meeting-house. The people respectfully make 
way for them. 
Page 45, after line 20. 
Elbowing their way among the people. The throng gradually 
croicd in after them. 
Page 46, after line 22. 

[Exeunt (r.) into Meeting-house. 

Scene II. — Interior of the Meeting-house. Door in flat. High 
pulpit with deacons' seat (l.). In the centre an enclosed 
platform. Mary Walcot in a chair betiueen the platform 
and pulpit. Corey near the platform. A crowd of spec- 
tators, among them Gloyd. Confusion and murmurs 
during the scene. 
Martha is led in by the constables, and the justices and Mather 
are escorted to the deacons' seat by the sheriff. The people 
stand as they come in. 
Page 46, after line 23. 

Reading, 
Page 55, after line 183. 

[Exit Martha, led out by officers. 
Page 55, after first half of line 185. 

Corey steps forward. 
Page 55, after line 189. 
General consternation. During the rest of the scene he remains 
silent luith arms folded. 
Page 57, top line. 

Hathorne, with solemnity. 
Page 57, end of Act IV. 

(^Curtain.^ 



APPENDIX. 71 

ACT V. 

Scene I. — Corey's farm, as in Act IT, Scene 1. Enter Richard 
Gardner (r.), looking around him. 
Page 58, after line 16. 

Enter Tituba (r.) with a basket. 
Page 59, after line 42. 

[Exit Tituba (r.). 
Page 59, after line 52. 

[Exit Gardner (r.). 
Page 60, Scene II. 

Scene II. — The prison. Door injiat ; windoio with bars (r.). 
Giles Corey at a table (l.), on which are papers, quills, 
and an inkstand. 
Page 64, after last Hue. 

(^Curtain.) 

III. 
scenery and properties. 

ACT I. 

Scene I. Wood drop in second groove. ^ 

Properties. Basket of herbs, staff, riding-whip. ' 

Scene II. Hathorne's house in first groove. 

Properties. Small table and two chairs (l.), clock (r.).^ 

Scene III. Walcot's house. Full stage (fourth groove). 
Door in flat. 
Properties. Household furniture, mirror, spindle, piece of 
gray cloth. 

ACT II. 

Scene I. Giles Corey's farm. Full 

stage. Arranged as per plan. 

If possible the flat should show 

the scene as described at the 

beginning of Act V. 

Properties. Horseshoe, hammer, nail, saddle. 

1 The " grooves," in which the scenery runs divide the stage into four aj^rox- 
iiuately equal parts. The " first groove " is the one nearest tlie audience. 
^ (R.) and (L.) mean Right and Left to a person facing the audience. 



/ 




n 

Well 


Barn 




House 



72 APPENDIX. 

Scene 11. The Green in front of the Meeting-house (first 
groove). The drop may show an ordinary village street, 
in which case the Meeting-house will be a wide wing set 
at the Right. Or the drop may show the Meeting-house. 
A practicable door is necessary. 

Scene III. Corey's kitchen. Full depth of stage. Door and 
window in flat. Fireplace (r.) with pot-hooks, kettles, 
pans, andirons, etc. A dresser with antique pewter and 
china, a settle, spinning-wheel, and other articles of old 
furniture will add to the realism and effect of the scene. 
Properties. As above, table with supper, chairs, knitting, rid- 

' ing-whip. 

ACT III. 

Scene I. Scenery and properties as in the last scene. 

In dramatic representation it is recommended that Scene 3 be 
joined on to the end of Scene 1. In case a hand loom and 
spinning-wheel cannot be obtained, the line "You see my spin- 
ning-wheel, you see my loom " must be omitted. If the two 
scenes are united, Martha does not leave the stage at the end of 
Scene 1. 

Scene II. Where the amount of scenery is limited, this scene 
may be Hathorne's house, as in Act I, Scene 2. 

Scene IV. Ipswich River Meadows. Full stage. The appear- 
ance of a mowing-field may be created by having two 
cleats run across the stage 4 or 5 inches apart and filling 
the space between with hay. 
Properties. Scythes, pitchforks, basket of lunch, cider- 
barrel. 



APPENDIX. 



73 



ACT IV. 

Scene I. Same as Act II, Scene 2. 

Scene II. Interior of Puritan Meeting-house. Full stage. 
This may be very simple, but for those who can command 
the facilities the following arrangement is recommended : 



Bo X Pev^ 





B 


n 


c 


h 


I S 






The pulpit should be the old-fashioned high one with 
sounding-board, hour-glass, and leather-covered Bible. 
Properties. Chair, platform, spindle, gray cloth. Wands for 
sheriff and constables, paper with seal for the indictment. 

ACT V. 

Scene I. Corey's farm as in Act II. If it is not convenient to 
have the four poplar-trees, the second line of the scene 
must be omitted. 
Properties. Basket of herbs, bundle, and stick. 

Scene II. The Prison. Full stage. Door in flat. Window 

(R.). 

Properties. Table with papers, quills, and inkstand. Pallet 
of straw in the corner. 
It is recommended that at the end of this scene the Sheriff 
and Constables enter and lead off Corey. The Justices and 
Mather enter with them and look out of the window. After 
Corey is led away they speak the lines of Scene 4, omitting 
" This is the Potter's Field." At the end of these lines the cur- 
tain falls, Scene 3 being omitted entirely. 



74 APPENDIX. 



IV. 



COSTUMES. 



Hatliorne. Black velvet coat, full trunks tied at knees with 
black ribbon, and long cloak. Black hose. Shoes with buckles. 
Puritan collar and cuffs. Sword and baldric. Judicial wig. 
Black sugar-loaf hat. h\ Act IV the sword is omitted, a gown 
substituted for the cloak, and a black velvet skullcap worn, 

Corwin. Similar to Hathorne's dress in Act IV. 

Mather. Black cloth coat, trunks, and cloak, of similar pat- 
tern to Hathorne's. Black hose. Shoes with buckles. In Act 
I, Scenes 1 and 2 a pair of leggings or riding-boots is worn. 
Puritan cuffs and clerical collar. Clerical wig. Black sugar- 
loaf hat. Biding- whip in the first scene. In Act IV a Genevan 
gown is substituted for the cloak. See the picture of Cotton 
Mather. 

Corey. Dark brown coat, trunks with ribbon ties, and short 
cloak. Hose. Shoes with buckles. Riding-boots in Act II. 
Puritan collar and cuffs. Iron-gray wig. Brown sugar-loaf 
hat. Should make up stout. 

Walcot. Light brown coat and trunks. Short dark brown 
cloak. Hose. Shoes with buckles, Puritan collar and cuffs. 
Sword and belt. Brown sugar-loaf hat. 

Gardner. Pepper-and-salt coat and trunks. Cuffs to match 
coat. Fancy waistcoat. Gray hose. Shoes with buckles. 
Handkerchief around neck. Slouch hat. Stick with bundle tied 
up in bandanna. 

Gloyd. Gray flannel shirt. Rough trunks and hose. Shoes 
with strings. Slouch hat. Rough black wig and beard. In 
Act IV a rough gray coat and a bandanna around the neck may 
be worn. 

First Deacon. Light brown coat and trunks. Black hose. 
Shoes with buckles. Puritan collar and cuffs. Black sugar- 
loaf hat. 

Second Deacon. Gray coat and trunks. Gray hose. Shoes 
with buckles. Leather jerkin. Puritan collar and cuffs. 
G»ay sugar-loaf hat. 

Sheriff. Gray coat and trunks. Jerkin. Black hose. Shoes 
with buckles. Puritan collar and cuffs. Black sugar-loaf hat. 
Wand. 



APPENDIX. 75 

Constables. Similar to sheriff. 

Guards. Light brown coats and trunks. Breastplates. Hip 
boots. Puritan collars and cuffs. Morions. Pikes or hal- 
berds. 

Hired men. Similar to Gloyd. 

Villagers. Similar to Corey, Walcot, and deacons. 

Martha. Gray waist and slightly full skirt. White kerchief 
and Puritan cuffs. White apron and cap. In Act IV the 
apron and cap are omitted, and a dark gray hood and cloak 
added. 

Titiiba. Leather jacket. Red shirt with grotesque black and 
yellow figures sewed on. Blanket fastened around neck like a 
mantle. Black steeple-crown hat. Straight black hair with 
feathers in it. Beads and amulets. T-shaped staff. Indian 
powder on face and arms. 

Mary. Dark brown waist with sleeves slashed with old gold. 
Dark brown overskirt open in front. Old gold underskirt. 
Lace collar and cuffs. Dark brown coif of velvet trimmed with 
lace. 

Villagers. Similar to Martha. 

Suggestions. 

The cheapest cloths, such as denim and canton flannel, make 
exactly as serviceable and effective costumes as more expensive 
materials. Four yards of 27-inch material will make a coat, and 
two a pair of trunks. Hats may be made of bristol-board cov- 
ered with canton flannel. Collars and cuffs can be made of cot- 
ton duck, but it must first be thoroughly shrunk. Shoe-buckles 
can be cut from tin. Boughton's pictures of the Pilgrims give 
excellent suggestions for costumes. 



76 



APPENDIX, 



MUSIC 



FOR HYMN SUNG AT THE BEGINNING OF ACT V SCENE U. 

Andante maestoso. J = 80. ^^ 




i 



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-(5*- 



-(Sf- 



-(5?- 



-^ 



A - rise, O right-eous Lord ! And dis - ap - 



g^E^f^ 



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^,22_ 



:P3 



FjE^ 



-1^- 



point my 



m 



A 



— s? — 
foes; 

(^ 



t- 



They are but Thine a 



f=N 



g^ 



:t=t 



^^3^^^: 



^^ 



vengingsword,Whose ■wounds are swift to close. 

] (Z , a.- 



*^^^p^ m 



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1=1 



Henry Wadsworth Longfellow. 

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